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Ii internationalen germanistenkongresses shanghai germanistik zwischen tradition und innovation band 4 publidave porter. Dreaming of space mazes. Editionbomb disposal in world war two. Teacher questions answers for superfudge novel studies book 5. Au milieu de la montagne se trouve une pierre. IV Le merveilleux cependant est avant tout un jeu, puisque 72 Ed. Roach Philadelphie, Rieger , — Rieger , , n. Dubuis Pour cette distinction v.

Nilgen ; et A. Rieger Rieger , Einz que cil se fust regardez 27 V. Rieger , s. Gier Quant devant lui vint, si li fist grant joie, come beste mue. Chrestien de Troyes, Yvain, trad. Saur , 62— Komische Gegenwelten. A later critical edition was prepared by Edward Wilson as a doctoral dissertation University of North Carolina, Chapel Hill , but it apparently remains unpublished. Gilles Roussineau is currently re-editing the romance.

The question of authorship — that is, whether the Raoul who names himself in the text is the same as Raoul de Houdenc author of Meraugis de Portlesguez — is not entirely settled. I earlier expressed reasonable confidence that they were the same; I am no longer so sure. However, both views are highly speculative. Schmolke-Hasselmann, pp. The most innovative of these changes occurs near the midpoint of the text, when the character of the protagonist, Gauvain, is abruptly inverted and he becomes everything that experienced readers of French Arthurian romance expect him not to be.

As the subjects of the preceding paragraphs suggest, the present essay has to some extent a dual focus, dealing both with character and humor on one hand and with narrative form on the other. Indeed, theme and form are intimately connected in most, perhaps all, romances,6 and I would suggest that condemnations of literary structure very often have their origin in misapprehensions of thematic content and meaning.

We have no time to settle into the text before encountering the first of many narrative shocks. Florida State U, Raymond H. The notion that form and theme are interconnected is of course hardly new. I myself have implicitly developed the same contention in previous articles, including one with a title that bears an intentional resemblance to that of the present study.

Joan Tasker Grimbert and Carol J. Chase Princeton, , — I do not intend these remarks as a condemnation of Bruce or of any other scholar. If we criticize Bruce for not perceiving the balance, beauty, and appeal of a good many romances see Bruce I, v and passim , scholars of future generations will doubtless condemn us for ascribing those qualities to many texts in which they do not locate them. In the world of romance, waiting produces Godot. But the Vengeance Raguidel offers one of the rare and striking exceptions to that rule. Here, nothing happens. Yet, his custom requires that the king abstain from eating, and he will not violate custom or romance tradition.

He urges the other knights to begin their dinner without him, but they all refuse. This static situation persists until Gauvain enters the hall and the king asks him to begin eating. This passage provokes several observations. In addition, the opening establishes one of the recurring themes of the romance, a preoccupation with food. Arthur, on the other hand, fasts in order to preserve his dignity, we are told vss. The notions of delay and postponement, along with their opposite, impetuous haste, will be crafted into a major theme and structure of the romance and refracted through a variety of narrative prisms.

In particular, the narrator will develop the contrast between eagerness and frivolity in chivalric terms and between constancy and faithlessness in love — on the part of other characters, of women in general, and of Gauvain in particular. The relation of food to chivalric and other crises merits more detailed investigation than it has received, particularly since food appears, in the thirteenth century, to assume an importance beyond its role in feasting and social intercourse.

The importance of food may be linked most closely to Gauvain, but by no means exclusively to him: Perceval himself may offer the most dramatic example of the connection of eating with chivalry and non courtliness, when, in the Tent Episode of Perceval, he not only steals a kiss but devours pastries that are not his. There follows an odd reflection of the Sword in the Stone motif. Kay, predictably, tries his hand at this — and also his foot, which he places on the corpse for greater leverage — and then other knights take their turn vss. The latter task is accomplished by Yder, who then leaves without being recognized or named.

Gauvain, throughout the romance, appears to be largely intent on playing the role of Gauvain, frequently even outdoing the character we know from other French texts. Here, given the opportunity to accomplish a task for which he has been chosen, he charges off with typically reckless abandon, even though 1 he has no idea where the corpse came from, 2 he does not know who Yder is or how to find him, and, especially, 3 his haste has made him forget the lance that he needs in order to complete his mission see — The beginning, in other words, is not auspicious.

He quickly embraces causes — and women — and promptly forgets both. Thus, although Gauvain sets out without delay, once on his way his impatience disappears, and he even appears as noted above to seek delay, taking lodging where he can expect to linger. He has a great many adventures before finally, some lines later, realizing that he has forgotten to bring along the lance he will need to defeat the killer.

She describes this conspicuous practice as her penance: she has chosen to dress and ride that way until her former lover is avenged by Gauvain. Without recognizing the knight before her, she adds that this 11 Keu plays a prominent role in this work. He is his traditional taunting self, and he fails at both chivalric and amorous endeavors.

It will be noted later that his lady failed the chastity test more miserably than any other. Pure comedy resides in the fact that on one occasion Gauvain assumes the identity of Keu; see below, n. Yder, though an essential participant in the events recounted, is paradoxically an exceedingly minor figure in the narration itself. We see him briefly at the beginning and for a somewhat longer time at the end, but we never hear of his progress from court to the land where vengeance will be taken. We must suppose that he makes his way quickly, directly, and uneventfully to his destination and that he simply waits there.

Wounded and with his horse killed, he finally decides to make use of the broken lance, and the irony is compounded when, contrary to textual prediction, he cannot defeat his opponent even with that. Eventually, they do battle again, his adversary having suggested that they both use conventional, not magical, weapons. Only then is Gauvain victorious. In other words, he succeeds only when things are done on his own customary terms, when the game is played by his rules. These episodes are, in fact, two parts of the same story, told from different points of view.

LACY connections of these characteristics to love, which the narrator presents as a largely destructive force. Then he witnesses a wonderful procession reminiscent of that of the Grail Castle vss. From another room come three squires, the first bearing a rich and beautiful cup vs. The other two carry dishes or trays of food, which they place before him. Instead, Gauvain behaves in a fashion already established as typical: although he has just feasted sumptuously, he eats again. His feast is interrupted by the arrival of a man, Maduc, who explains that his custom is to kill every knight who passes that way.

Gauvain curses that custom vs. In this instance, food is not merely a major preoccupation for Gauvain, but also an effective and amusing military tactic: with the delay granted, he chews each bite so slowly and deliberately that he is able to arm himself fully in preparation for the battle.

His solution to this dilemma — his desire to kill an enemy he cannot identify — is simply to kill every knight he encounters, in case one of them happens to be the man he seeks. Her motivation is respect and concern for him, and not romantic love, but she is nonetheless conspicuous for her goodness in a text that features unfaithful or treacherous characters on all sides. See n. Gauvain and the woman, according to Maduc, are equally responsible for his loss.

Arthurian Literature XIX: Comedy in Arthurian Literature - PDF Free Download

The Maduc episode is structurally and thematically paired with the following one, in which Gauvain encounters the Pucele del Gaut Destroit herself. She still loves the hero desperately but intends to demonstrate it in an unusual way — by killing him. She, like Maduc, and for the same reason, cannot recognize him,17 for after the tourney, he had immediately and typically left, with neither a word nor a second thought for her vss. In other words, Gauvain is faithless and inconstant — not, incidentally, unlike her — and is in her view more attracted to adventure than to women.

Knowing that she cannot win his heart, she wishes only to kill him and then herself vs. This is also one of its most memorable episodes, dramatizing a surprising and amusing Gauvain — hopelessly consumed by love, absolutely devoted to his beloved, and destined for one of the rudest awakenings conceivable. Gauvain rescues a young woman named Ydain and instantly falls head person but cannot recognize that person chooses instead to kill everyone just to be sure, is in La Queste del Saint Graal.

See Albert Pauphilet, ed. Her lady, however, cannot believe that such an excellent knight could possibly be Keu. Considering the character of the woman with whom Gauvain will soon fall in love, the humor inherent in his assumption of that identity is redoubled when we learn, as we soon will, that of all the knights at court Keu is the one most unlucky in love. LACY over heels in love with her vss. Readers already familiar with Gauvain doubtless expect him to be easily infatuated and attracted to any pretty face, but the author here plays on those inclinations by exaggerating them hugely and remaking his character, however briefly, into the very epitome of the courtly lover.

This would surely be a remarkable passage in regard to most knights; it is positively astonishing when the hopelessly smitten man is Gauvain. Here, comically, as if he were an adolescent experiencing his first infatuation, he transforms his emotion into a profound and blissful romantic love. He accordingly transforms this woman into the lady of his dreams. Unfortunately, he will learn all too soon that the lady is a tramp. After spending the night with her, his love for her, we are told, is six times that of the preceding day vss.

The episode in question is a setting of the famous chastity test involving the ill-fitting mantle. The placement of the recounted episode cannot be an accident. See Le Chevalier au lion Yvain , ed. Mario Roques Paris: Champion, , vss. Clearly, in his mind, Ydain is no ordinary woman. Having fallen in love with her, he attributes to her the qualities he would desire in a woman; foremost among them is constancy. The couple pass a man who is urinating beside the road. But in fact, given what is about to occur, there can be little doubt that she has indeed seen it and has moreover found it most impressive.

Thus, when the man claims her as his own and Gauvain, confident that she is as devoted to him as he is to her, proposes that she choose between them, she chooses the other man without hesitation vss. When she sends her newfound lover back for her dogs vss. Now, disillusioned with love, he reverts to his customary concern for his honor; the woman is less important to him than is his commitment to fight over her. LACY like Ydain, be allowed to choose. His victory in this battle for the dogs causes the faithless Ydain to lose interest in the other man, and she contends, rather lamely, that she was only testing Gauvain and that she loves him more than ever.

But Gauvain is no fool — or, more precisely, no longer a fool. In scene after scene of this work, the author has made effective use of familiar characters Gauvain, Keu, and others placed often in humorous situations. There is also the burlesque reflection of the Grail Castle and its procession, the recollection of the sword in the stone episode, and various customs that are familiar to us but irksome to Gauvain. There is a chastity test, narrated through a secondary account.

There is even, for good measure, an account of the White Stag, from Erec and elsewhere; here, though, it is hunted not as some element of an important social ritual, nor in order to maintain custom, as in Erec.

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Instead, its purpose is simply — and by now unsurprisingly — to provide food. Raoul is systematically accumulating and manipulating familiar motifs, exaggerating them, often inverting them in amusing fashion. Most of all, he plays on the character of Gauvain.

Already at that early date perhaps c. The audience could thus be expected to recognize in him the figure of a knight always eager to seek adventure and never able to resist distraction from it. And having recognized him, that audience could scarcely have missed the humor inherent in the presentation of Gauvain, the Arthurian Don Juan, as smitten and devoted lover.

To the objection that most of the romance is composed of apparent digressions and miscellaneous episodes, I would respond that those episodes contribute materially and quite uniformly to the exposition of character, the development of theme, and the generation of humor. See R. Johnston and R. Owen, eds. Schmolke-Hasselmann assigns it to the period —30 p.

The narrator of the Raguidel knows his romance tradition well and mines it thoroughly, with reverence reserved for virtually no part of it. The resultant creation must surely be counted as one of the most fascinating and innovative of the French Gauvain romances. Thomas E. Vesce, vol. Jahrhunderts, ed. Foerster and H. Fordham University, Brill, Schmolke-Hasselmann, p. Del roi Artu et de ses houmes Est cis roumans que nous lisoumes.

Si est tels chevaliers le roi, U plus ot sens et mains desroi. Mauvaise terre a en Irlande, A cent diables le commande Mil fois ains que li vespres viegne. Mais de ceste terre me di! Encor ai jou une tel poille Qui orains fu rostie a poivre; Jel vos donra et vin a boivre Et une piece de fouace. Miex vos ferai, que jou ne face Les autres, por la ramembrance Que jou vos vi en vostre enfance. Tant le desacent et detirent Que des armes le deviestirent Et a Gaudionet le rendent. Toutefois comme le note Margaret Winters p. Cil fu autres, u ersoir mes, Que une canbre mirolee.

Kai explose. Tactique intelligent mais inattendue. Jehan a su introduire le comique dans sa conception du monde arthurien, et son roman est satirique autant que chevaleresque. To redress the balance, this essay sets out to demonstrate that humour contributes to the meaning of the Roman de Silence.

This intertexual humour is accompanied, moreover, by intergeneric play. In this essay the analysis of intertextual and intergeneric comedy will be supported by a more traditional exploration of the verbal, structural and situational humour which is found at every level of the narrative.

Repetition, exaggeration, incongruity and the breaking of taboos are all techniques exploited by Heldris to amuse his audience. Finally, we shall consider whether the 1 2 3 See, for example, the articles in Arthuriana 7, a special issue dedicated to the Roman de Silence in Roche-Mahdi East Lansing, , p.

See E.

When Lewis Thorpe published his editio princeps of the Roman de Silence in book form in he called it a thirteenth-century Arthurian verse romance. Heldris also drew on Geoffrey of Monmouth and Wace in constructing an Arthurian pedigree for Silence, who claims to be a descendant of Gorlois of Cornwall line This too is un-Arthurian, since the Arthurian romance remains throughout its history a romance of chivalry and must therefore inevitably revolve around a male hero.

Thorpe Cambridge, , first published in Nottingham Medieval Studies 5—8 —64 and 10—11 — Since the romance has survived in only one manuscript, there is no discrepancy between line numbers in any published edition or translation of the text. See B. The English quotation is taken from B. Margaret and Roger Middleton Cambridge, , p. Parallels have already been noted between the courtship of Cador and Eufemie and the legend of Tristan. Thus Cador is invited to name his bride as a reward for killing a marauding dragon, while Eufemie is granted a similar marital privilege after curing Cador.

In this way, Heldris presents her as a less passive potential prize than Soredamors. See Roche-Mahdi, Silence, p. Frappier Grundriss, III, —74, p. See H. Davies and A. Kennedy Cambridge, , pp. There is irony in their mutual yet undeclared love and in their rhetorically elaborate ratiocinations which lead to passivity rather than action. Je non. Comant dons? Dex, ja est la parole bele Et tant dolce ami a nomer!

Not I. How then? Call him by his name! Oh God, the word is already wonderful and it is so sweet to call him ami. If only I dared to call him ami. She feared he had said something quite different. The lovers seal their declaration with a feudal kiss, its description comprising litotes lines — , mock discretion lines —6 , exaggeration line and a jocular comparison to a very pleasant meal lines — Meanwhile, King Ebain is presented as sharing the same doubts which afflicted the lovers. For, keen that the couple should marry to solve an inheritance problem of his own making, the king believes erroneously that he will need to put pressure on his nephew and Eufemie to marry each other lines — Yet it is the king who ends up being the butt of the only deliberate joke when the count dupes him into thinking that it was hard work convincing the lovers to accept each other in marriage lines —4.

Their inability to express sexual desire is transposed in her story onto the paternal prohibition against expressing her natural female sexuality in return for the cultural benefits of inheriting wealth as a male lines —, It is appropriate, therefore, that a man who fears to express his love and a woman whose name invokes euphemistic verbal indirectness should give birth to a child called Silence. He is also a boy brought up by his mother in ignorance of masculine pursuits. He may still become a worthy knight. Thus nature the forest, the wild, the body, natural activities is gendered feminine through association with the mother, while culture the court, chivalry, the church, the mind, cultural activities is gendered masculine through association with King Arthur, knights and clerics.

Yet nature, in the sense of innate characteristics or genetic destiny, and defined in opposition to nurture, is gendered according to biological sex; thus Perceval, with his masculine, aristocratic nature is destined, despite his feminine nurturing, to become cultured, civilised, a knight.

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His male nature obliges him to leave the maternal imaginary and enter the paternal symbolic order, with its emphasis on language. Whereas the forest is gendered feminine in Perceval, it is masculine in the Roman de Silence. Silence, once weaned, is nurtured away from court society in the forest by a nurse, supervised by a seneschal and Cador lines ff. Their aim is to gender her masculine by teaching her all the skills required by male nobles. She is brought up against her nature to adopt masculine culture, 20 S.

MacCormack and M. Strathern Cambridge, , pp. Rosaldo and L. Lamphere Stanford, , pp. However, her true female nature, expressed through her body and sexuality, will out in the end, and is finally revealed when she captures Merlin. For only biological females can catch Merlin. In fulfilling her female nature she must abandon the cultural roles of knight and jongleur which she performs expertly while masquerading as a man.

The conflict within her is made explicit in the speeches given to the two allegorical figures nature and norreture. In Old French, the common noun silence is masculine, but derives from the Latin neuter noun silentium though the form silentia existed in Medieval Latin too.

It is certainly true that narrative inconsistencies reveal authorial unease about serious gender issues. Jo cuidai Merlin engignier, 27 Unlike P. Forlignier Cuidai a tols jors us de feme. I thought to deceive Merlin, but I have deceived myself. El a en tine que ferine: Il est desos les dras mescine.

All that is visible is completely masculine, [but] he has something else in his barrel than flour: under his clothing he is a girl. Morawski Paris, , no. Silence is again the object of sexual humour just as she reaches the heights of chivalric success. More serious though, to my mind, has been the violence done to the text by the translation attempts of modern critics.

Yet Roche-Mahdi Silence, p. I have therefore employed feminine pronouns in my translation. Besides, she shares many positive characteristics with the enterprising but nevertheless feminine Nicolette. Silence is thus both a comic inversion of the traditional male chivalric hero and a more serious epitome of the ingenious heroine who disguises herself as a jongleur, travels extensively and defeats her opponents by force of intellect and verbal dexterity. The most obvious parallel between the two works is the linking of the themes of speech and pleasure, or rather female silence and male pleasure.

This explains his prohibition on her speech and the suspension of conjugal relations during their adventures. Jones and R. Wisbey Cambridge, , pp. Heldris, on the other hand, shows that ultimately this silence, being unnatural, has to be broken. Faites de moi vostre plaisir.

Do with me what you will. Self control or denial is expressed by the term abstinence lines , , Both texts agree that silence is not always golden. Taon Comp. Tobler and E. Paris, and Berengier au lonc cul is in many ways as humorously unnatural as Silence, and both show that appearances created by females can be deceptive. Alcuin Blamires with Karen Pratt and C.

Marx Oxford, , p. This type of evidence is problematic though, first because the folios on which Silence appears may not originally have been bound with the rest of the texts, and second, because medieval works could be copied together not to create a thematically coherent whole, but to produce a varied anthology for the owner of the codex. Laughter is enhanced by the breaking of taboos. Cohen and B. Wheeler New York, , pp. I am grateful to Dr Putter for his useful questions and comments on an earlier version of this paper delivered at the International Arthurian Society Congress in Toulouse Psaki, Silence, pp.

Econduit ici, Guerrehet poursuit son chemin et va tenter sa chance ailleurs. IV, pp. Cette remarque est un leitmotiv du roman. En bonne logique arthurienne, elles devraient lui tomber dans les bras. Et je sui. Lancelot en prose, IV, p. Nykrog, Les Fabliaux.

Aïe Aïe Aïe !

Noomen et N. Micha, tome IX, p. Certes trop fustes hardie, qui vostre lecherie feistes devant moi. Harper-Bill et R. Harvey Woodbridge, Boydell Press, , pp. Bertrand Paris, Champion, , p. Bertrand, op. Genette dans Palimpsestes. Lancelot, alors tout jeune chevalier, veut absolument voir la belle jeune fille du 36 37 38 39 pavillon, et, pour cela, combattre le grand chevalier qui la garde.

Tome IV, pp. Tome V, pp. Tome VI, p. Jean Frappier dates the composition of the Vulgate Cycle between and and describes it as a process of composition and growth, under the supervision of an architect. He compares it to the building of a cathedral. Special thanks to Martine Meuwese, who consulted her database and kindly provided a more reliable date for many of the manuscripts see also the Appendix. Kennedy, 2 vols. Sommer, 7 vols. CIII, 5, le roi de France qui est mort.

The chronological diagram in the appendix shows that, in fact, one of the oldest manuscripts — Rennes — already has the Estoire dou Saint Graal and Estoire de Merlin, which are generally considered later additions. Continuing along this line of reasoning, which works from the assumption that the manuscript tradition as a whole is representative of the different configurations in which the texts functioned and were transmitted, Diagram 2 in the Appendix was made. It gives the same manuscripts, but now in a sequence based on what they contain. The sequence works from the Lancelot onwards and ends with the manuscripts of the full cycle.

It is noteworthy that there are at least thirty-eight manuscripts which contain only sections of the Lancelot. There is the possibility that the first part of the Lancelot existed separately and formed a separate unit in the formation of the Lancelot tale. For this cycle, sometimes called Didot-Perceval or Perceval en prose, see P. Loomis Oxford, , pp. Jauss, E. Frappier, vol. For Rennes , see A. Six manuscripts stop at a point corresponding with the exact beginning of S V: this is where a division would lie if a manuscript containing the trilogy were divided solely on the basis of numbers of folia into two volumes see F.

Lot, Etude sur le Lancelot en prose, 3rd edn Paris, , pp. These six manuscripts perhaps were the first volumes in two-volume sets containing the trilogy and thus lose their strength as arguments for a separate Lancelot. The rewritten version of these episodes leads into the prose Charrette. It contains a number of new elements. Three manuscripts give just this text — one of them Paris, BN is the oldest preserved prose Lancelot manuscript according to Kennedy — and twelve more manuscripts first follow the non-cyclic version and then transfer to the cyclic Kennedy, Lancelot and the Grail, p.

Micha Essais, p. Kennedy, Lancelot and the Grail, discusses the Grail allusions in a separate chapter pp. The discussion, although somewhat abated, has not come to a completely convincing conclusion yet and perhaps it never will. Diagram 2 in the appendix shows that there seems to be a kind of compositional borderline or watershed after the Charrette. This is the arithmetically justified point where a new volume starts in a number of two-volume manuscripts of the trilogy and three-volume manuscripts of the whole cycle.

BN 98, BN , by means of an initial e. Amsterdam BPH 1 vol. Oxford, Bodl. Exceptions are discussed above. Diagram 2 in the Appendix. The beginning of the Queste is marked in a similar way in this manuscript, whereas the beginnings of the Charrette et cetera are more subdued. In BN , most of f. My arguments will be derived first from the manuscript tradition and then from the contents of the story. None of the preserved manuscripts begins or ends at this point and that makes it less likely that a clearly defined and recognized new section began here.

The manuscript does not end here on purpose, but no doubt suffered an accidental loss of leaves. Lot, Etude, pp. Tournoy and W. Verbeke Leuven, , pp. The first is a manuscript Micha did not describe. This seems remarkable, but a look at the context shows that in this manuscript each new paragraph of the interlaced story is indicated by a similar initial. There is no indication whatsoever that a big new section of the tale begins here. The end of the Charrette, however, is signalled by two miniatures and the first of them is a large one giving two scenes , which make this boundary jump right off the page.

In BN , the relevant volume of the cycle BN —, the chapters in the interlace structure are generally indicated by an initial six lines high , but there also are quite large miniatures. The final episode of the Charrette F. Arsenal — has in volume a nine-line initial at the beginning p.

The Amsterdam BPH 1 manuscript, for instance, also uses the phrase quite indiscriminately, also at places where no larger unit could be indicated ff. In some the framework of the interlace seems almost disconnected from the illumination; in the Charrette this framework itself shows many different forms, due to textual variants and other factors, which require further research.

The variance in some cases is due to a phenomenon also encountered in Middle Dutch romances in the Lancelot Compilation: the text gives a formal switch but there is no actual change from one narrative thread to another. Lanceloet: De Middelnederlandse vertaling van de Lancelot en prose overgeleverd in de Lancelotcompilatie. Pars 3 vs. In the relevant section of BN the miniatures have not been executed. This idea finds further support in the story itself. His relationship with Guenevere has its stormy patches, but it remains undiscovered and still is an inspiration for great deeds.

Lancelot is one of the chosen few to see the Grail procession and to taste the wondrous food the Grail provides. His nephews Lionel and Bohort turn out to be fine knights, and Lancelot even learns that Hector is his half brother. Arthur reigns unchallenged and conquers vast lands on the continent. There is of course a flip side to this success story and that makes for interesting thematic developments.

Furthermore, it disqualifies him from success in the dawning Grail quest. The three thematic lines are presented in an interlaced tale that contains 17 Instead of numbering the folia, this manuscript has numbered each side of the leaf separately and thus has no indication of the recto or verso. These threads are alternated in a most intricate way, without ever leading the audience astray however and without breaking the illusion of the simultaneity of the events. Until the beginning of the Queste, there will be no similarly complete gathering of the narrative threads.

In the prose Charrette — Part 2 — he has returned to the forefront of the story and will remain there for the rest of the trilogy. The author must have had the later episode in mind when describing how Lancelot sent a damsel with the sword to Bohort. Further examples point in the same direction.

Under similar circumstances — confused by a magical ring and potion respectively — both father children who will perform great deeds. In the context of this seduction, Bohort promises to kidnap Queen Guenevere. He also obtains a suit of armour from a knight in exchange for the promise to give his arms to that knight when requested to do so.

When Lancelot prepares to fight Bohort and thus to keep him from abducting the queen, the elderly lady suddenly appears and urges him to accompany her. Reluctantly, she allows him to finish the duel in which Lancelot and Bohort wound each other severely. Still Lancelot is able to ride away with the lady. He is carrying the head of a newly defeated opponent at his saddle bow.

The Lancelot between the story of the cart and the Grail quest is best conceived as a whole, composed in one creative go as a bridge between the prose Charrette, on the one hand, and the Queste and Mort Artu, on the other. Part 3 of the Lancelot essentially is a preparation for things to come. It describes the conception of the Grail knight Galahad, the rise of his companion-to-be Bohort, and even the coming to court of Perceval. It shows the flaws inherent in the Arthurian world and the dangers that threaten it. I will give one brief and final example. Her plan only makes sense in view of the Mort Artu, where she will succeed in showing the king these images.

Whoever wrote this part of the Lancelot had the Mort Artu or its outline in mind when creating this kind of forward connection. This brings up the question of whether the Queste and Mort Artu already existed in their present form when the text was created that connects these components of the trilogy to the first part of the Lancelot and the Charrette. See note 3. The contents of the manuscripts are what counts in this article. The configurations are studied independent of the date of the manuscripts. For the argument set up here, it is not so important whether a manuscript dates from the fourteenth or fifteenth century or whether it came from Amiens or Italy.

Giving a date for the manuscripts is hazardous, anyway. It seems unlikely that these corrections will dramatically change the general pattern, as described and used in the article. By means of the little blocks, the diagram shows what each manuscript contains; three blocks means: all of the text corresponding to that Sommer volume is found in this manuscript. The prose Charrette is represented by a diamond. It divides the cyclic Lancelot into two roughly equal parts. Manuscripts that have an asterisk on the rightmost side of the diagram have been checked in manuscript or on microfilm.

Notes regarding the manuscripts are given separately after diagram 2. Diagram 2 follows the format of diagram 1. The sequence here, however, is based on what the manuscripts contain. If two or more manuscripts have exactly the same components they are given in chronological order.

The alternative dates come from the works of Alison Stones e. Dhira B. Martine Meuwese kindly provided me with the dates that are commonly used within this working-group. Cy fine Gallehoz. Arsenal stops at S IV, p. Hutchings p. BN is divided into three volumes. The second volume begins with the Charrette S IV, p. The text of the Lancelot is amplified with Tristan-adventures. BN — H, p. BN misses the beginning of S IV up to p. The text says f. Meleagran avoit une seror. Oxford, Rawlinson Q b 6 H, p.

Rennes There is a large gap in S IV, from p. After this the text has a small section of the Charrette, pp. In so doing, the parrot functions as the primary purveyor of the comic in Le Chevalier du Papegau. Heuckenkamp Halle, All references to and citations from this romance are taken from this edition. Patricia Victorin is presently preparing an edition of the romance for publication by Champion. This title, Le Conte du papegaulx, is also written at the beginning of the manuscript by a more modern hand fol. In , Ferdinand Heuckenkamp published an edition of the romance under the title Le Chevalier du Papegau.

For the most part, critics have subsequently used this title which downplays the importance of the parrot in the romance. In romance this comic ending goes hand in hand with, and is a suitable conclusion to, an atmosphere of pleasure that generally permeates the entire narrative. Nul hasard en cela. This is no coincidence. The parrot is the character principally responsible for producing this comic effect of merriment and delight. He does so by playing two principal comic roles: that of entertainer and that of adjuvant helper in a comic plot.

As an entertainer, the parrot provides pleasure and amusement to courts in general and to his patron, King Arthur, in particular. I propose that the parrot performs both these comic functions by fulfilling 3 4 5 6 M. The verb occurs on pp. On pp. Nor do other characters consider him a humorous figure because he is an animal. Among the effects of casting a caged parrot — that is an animal restricted physically but distinguished and empowered by its capacity for human speech — in the role of the minstrel is an emphasis on the vocal talent by which the minstrel fulfils his double comic function.

Yet from the vantage-point of characters within the spatio-temporal universe of the romance, that is from the intradiegetic perspective which is that of this paper, the parrot is not comic because he is a parrot. Rather, the papegau is viewed as an exotic and valuable prize-performer of whom only King Arthur is worthy. On minstrels, see especially pp. Henry, 5 vols. Brussels, —71 , V. On the prestige of the parrot as exotic pet in the later Middle Ages see B. During the festivities, a damsel arrives and begs Arthur to send aid to the Dame aux Cheveux Blons Lady of the Blonde Hair whose lands and people are being destroyed by the fearsome Poisson Chevalier Fish Knight.

Arthur thus begins a year-long journey, replete with harrowing adventures, during which time he strives to merit his crown. Soon after his departure, Arthur participates in the contest in which he will acquire his parrot. Often kept in a gold cage, the parrot is valued highly because of its rarity and the beauty of its plumage. In the sixteenth and seventeenth centuries the parrot loses its prestige and becomes trivialized; see B. Henceforth he pursues his quest incognito, accompanied by his prize-parrot.

Watriquet de Couvin, a minstrel active c. From the beginning of the romance, the parrot is represented as a talented entertainer whose identity is strongly linked to joy-inspiring musical and oral performance. Even before he has the opportunity to exercise his great talent, the parrot is depicted as surrounded by musical merriment. Roques, CFMA 80, 6 vols. Paris, —82 , I, 17—34, vv. Pickens Kalamazoo, Michigan; , pp. Kelly, Faux Titre Amsterdam and Atlanta, , pp. Kelly and K. Busby, Faux Titre 31, 2 vols.

Busby and N. Lacy, Faux Titre 83 Amsterdam and Atlanta, , pp. Uitti for his Sixty-Fifth Birthday, ed. Blumenfeld-Kosinski, K. Brownlee, M. Speer and L. Walters, Faux Titre Amsterdam and Atlanta, , pp. Scheler Brussels, , p. See also Faral, Jongleurs, p. The following scene typifies the wonderful sense of carefree play and boundless mirth associated with the parrot and his performances. So they went up into the palace with such great joy that its like had not been seen since the time of King Belnain. The damsels themselves, who were all of the same age, unarmed Arthur, and they desired nothing but to laugh and play and to make themselves delightful to him.

And the parrot, when he saw the damsels, who were all fifteen years old, show such pleasure in his lord, began to sing of the chivalric feats that his lord had performed. The precise content of these songs and stories is never described in detail, and there are no lyric interpolations anywhere in the romance. However occasionally, as in this passage underlined in the above citation , a single line of prose is inserted into the text.

It is not clear if we are to consider this line an excerpt from or summary of the performance, or whether it represents the entirety of the text performed. In any case, the parrot most often performs these songs and stories alone. Nonetheless, he is introduced into the romance in conjunction with a group of performers and does on occasion perform with others — including his patron.

Delightful and delighting, the parrot is depicted as the polar opposite of death, sorrow and suffering, represented here by the queen. The parrot serves to drive away unhappy sentiments and threats to joie de vivre.

Though the parrot brings pleasure to many, the most important audience for a minstrel is always his patron. The papegau entertains Arthur on countless occasions. They also fulfil an important comic function on the level of the plot as a whole. See in particular pp. The parrot therefore has a stake in the events that occur in the romance.

In so doing, Arthur temporarily shuts the papegau out of the quest for glory. This image of imprisonment is used in a similar fashion when the Dame aux Cheveux Blons obliges Arthur to fight as the worst knight at her tournament. The saint acts as both subject and adjuvant: he or she is a subject whose entire will is to serve — to be an adjuvant of — God see Vitz, Medieval Narrative, pp. The parrot serves a similar double function: he is a subject whose principal desire is to aid — to be an adjuvant of — Arthur.

We can therefore follow, narratively, [the saint] and God at the same time; we see what God wants by watching what [the saint] does. Only when Arthur begs him not to abandon him and his quest so soon does the bird regain consciousness. In several passages the parrot does more than just amuse Arthur; he also guarantees him a reason to be happy: that is, he furthers the success of the knight.

The parrot predicts adventures and prepares Arthur Such is the case with the bedtime story that the parrot recites to Arthur. The performance with which the parrot wakes Arthur also has a double comic function.

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In addition to entertaining Arthur, it too predicts adventures to come and readies the knight for his difficult day ahead. From the very beginning of the romance the parrot manifests a magical omniscience akin to that of Merlin — to whom the parrot refers the very first time he speaks. After Arthur defeats Lion sans Mercy in the initial contest, the parrot astonishes all by announcing the identity of the heretofore unknown victor.

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Her motivation is respect and concern for him, and not romantic love, but she is nonetheless conspicuous for her goodness in a text that features unfaithful or treacherous characters on all sides. She is already anxious when she comes to court that she will be dispossessed of her lands, but it is even worse than she fears. That will be the day. Check system status. Travelling and meeting people from around the world who share the same passion is just part of it.

The parrot encourages and emboldens Arthur When the adventures foreseen do come about, the parrot assists Arthur, encouraging and strengthening him with his performances. Sommer, 8 vols. Washington, —16 , II, New York and London, —6 , I, — The protean Merlin adopts the identity of a minstrel on pp.

Amused by the entertaining nature of the song, Arthur laughs. Yet the performance also empowers Arthur and drives him towards success. Incarcerated in his cage, he remains immobile and physically dependent on others. His strength rests completely on his vocal capacities. Maddox and S. Sturm-Maddox Cambridge, , pp.

Although the parrot is linked to love in such medieval works, he is generally devoid of symbolic meaning in medieval literature — in part because the bestiary tradition fails to endow the rare bird with symbolic or moral value. The parrot of Le Chevalier du Papegau is introduced into the romance as the unrivalled performer of a repertory of songs and discourses on love which inspire amorous sentiments in men and women.

He proceeds to tell Arthur the flattering story of the maiden, cited above, whom the parrot has previously met at court. The goal of his quest — and the comic outcome of the romance — are jeopardized. She robs Arthur of the satisfaction and pleasure he derives from succeeding in combat. Fulfilling his comic function, the parrot helps Arthur regain the satisfaction of success which also brings pleasure to his admirers at court , and ensures that his quest continues towards a happy end.

For too great a joy often turns into a very great sadness, and if this is not so, then one may have the right to be joyous. The parrot comforts and consoles This expertise also enables the parrot to console his dejected patron. The bird under24 This long defense is found on pp. His pleasant performances restore to the romance a sense of pleasure and help keep the plot on its comic track.

Arthur does well to accept the recommendation of this clairvoyant counsellor, for in giving guidance concerning the future, no one can rival the prophetic parrot. His final story unifies the episodic narrative of adventures and draws the entire romance together into a conclusive whole with a decidedly comic conclusion.

The concluding mise en abyme of the romance, performed by the parrot, thus realizes the goal of the narrative itself. Cy fine le conte du papegaulx. So ends the tale of the parrot. The performances of the parrot-minstrel enable Arthur to realize his various exploits, in arms and in love, and to continue, complete and advertise his quest, therefore ensuring a happy ending to the romance. Painting a strongly positive portrait of the minstrel, Le Chevalier du Papegau suggests that the even greatest of lords needs a minstrel to help him succeed and to publicize his deeds.

No matter how we interpret this displacement, cloaking the minstrel in an exotic ornithological costume undeniably draws our attention to the role of the professional performer. In making the minstrel a parrot, the author consciously highlights the function of the singer — and of the storyteller. Because Le Chevalier du Papegau, a prose romance with no lyric insertions, would have been recited or read out-loud and not sung, the choice of a parrot — that is of a bird that speaks as opposed to an animal such as the nightingale which sings sweetly but is unable to talk — underlines precisely those talents necessary to perform the romance itself.

Indeed, without storytellers like the talkative parrot, or the narrator of Le Chevalier du Papegau, that young Briton knight would have never become the glorious figure of legend, the great King Arthur. Payen et H. Voir D. Hanks Jr. Trevi Milano, Rizzoli Branca, I romanzi italiani di Tristano, op. La Tavola Ritonda, ch. XCIII, p. Il en va tout autrement dans la Tavola Ritonda. Che mala perda aggia tale oste e tale albergo e chi mi ci condusse!

LXXIV, p. XCIV, p. Voir ibid. CI, pp. CI, p. Therefore, the humiliated heroes have to establish, or recover, their stained reputations in a series of adventures, which form the content of a lot of Arthurian romances. The characterization of Keu in most romances except for the Old French Yder and Perlesvaus has comical overtones, especially when it comes to his insufficient achievements as far as knightly performance is concerned.

Because of his official duties, he is tied to the Arthurian court, but when he sets off for an adventure in the outside world, he usually demonstrates his 1 2 3 This article is a reworked version of a presentation at the Conference of the International Arthurian Society held in Toulouse France. On the character of Keu, see, among others, H. In his actions he serves as a faire-valoir for the knights with a better reputation, especially Gauvain.

Where the latter succeeds, Keu must fail.